#310: Plank - Hivemind

With their debut LP Animalism, Manchester’s Plank! introduced both themselves, and their love of krautrock-inspired, instrumental prog-rock to the world. It wasn’t something to everyone’s tastes, but it was ultimately something which garnered them fans and allowed the band to develop confidently, even after the departure of  their previous drummer. Now, having dropped the exclamation mark from their name, Plank have released their second album Hivemind, a record that might have downsized significantly in subject matter from 2012′sAnimalism, but one that has absolutely grown in ambition.

This review was originally written for TheRealMusic. Click here to read in full.

#304: Catching Up With...Spring King

Having spent last Summer making it his own personal mission to write and record a song a day, Tarek Musa, AKA Spring King, is a man who isn't afraid of urgency. First making a name for himself producing the likes of Stealing Sheep amongst others Spring King has since go on to become the fully fleshed out five-piece it is today.

From ripping out bathrooms to songs about frogs, we caught up with Tarek to see just what makes Spring King tick and to see what's in store for the band over the coming few months.

This interview was originally done for Shout4Music. Click here to read in full.

#302: Catching Up With...The Hope Edition (U&I Music Magazine - June Edition)

Manchester is synonymous with bad weather; a perpetually grey city built on industry and with a wholly engrained history of the working class and unemployment. As such, with such limited prospects for the city's youth of the past, the musical output never really glittered with optimism. It may have been poetic, but never pretty, and only when flooded with pills in the late '80s, early '90s did the Happy Mondays dare to cheer up a little bit, followed by Oasis' laddish hope, both lyrically questionable bands. It seems now though that solid lyricism and an irresistible optimism have finally found a pairing in the form of the aptly named The Hope Edition.

Despite forthcoming single 'Tony Adams Vs the World' being their official debut, there's been a handful of recordings online for a year or so now; charming, heartfelt, and at times whimsical tracks that range between spoken word, post-punk and old fashioned indie-pop/twee. What sets the band apart from most however, aside from the inherently sunny disposition, is the intelligence that runs through the lyricism, allowing Manchester to painted in a far more romantic light than it's perhaps worthy of. There's an age old adage that suggests you can't polish a turd, in the case of The Hope Edition however, that isn't true and as images are conjured of kisses on the 192 and sick-stained hotel rooms, you can't help but smile.

Though the band have been described as being similar to both The Talking Heads, and Manchester's own Buzzcocks, it's not easy to pin a direct sound on the band, as each track seems to explore a different aspect of their influences. What is obvious though, is that their previous experience in other bands has allowed a maturity to emerge within their song writing, and though the lyricism might not always be as uplifting as their name suggests, hope seems to be a theme that runs throughout their music regardless, making each track as irresistible as the last. With the post-punky 'Tony Adams...' due for release in June, let's hope the latter half of the year sees The Hope Edition begin to get the recognition they deserve.  

This feature was originally written U&I Magazine. Click here to read the full piece and see what else this month's issue has to offer.

#289: Alkaine Trio - The Ritz, Manchester (22/4/14)

Gig review: Alkaline Trio - The Ritz, Manchester (22/4/14)

This review was originally written for Muso's Guide. Click the link above to read in full.

#287: Manchester Orchestra, Club Academy, Manchester (11/4/14)

Gig review: Manchester Orchestra, Club Academy, Manchester (11/4/14)

This review was originally written for Muso's Guide. Click the link above to read in full.

#286: Introducing...U&I Top Ten (U&I Music Magazine - May Issue)

Somehow or another, a whole year has gone by since I started writing for U&I and a lot has happened in those 12 months; I graduated, got fatter, saw some amazing bands and got fatter still. One thing which hasn't changed however, is the constant outpouring of good, quality music that comes out of Manchester. Now given that I can only feature one band a month, there's been plenty of top acts that I've had to pass on, so it seems only fair that I take this opportunity to big up some of the bands which didn't quite make my column, but could have done quite easily.

Jeremiah Ferrari

With their foundations firmly set in the traditional roots/reggae movement fused together with elements of ska and calypso, Jeremiah Ferrari are a far cry from Manchester's assumed indie heritage. Soulful vocals and upstrokes make for an ultimate party band, but that shouldn't detract from the solid song-writing and genuinely catchy melodies that perpetuate the band's music. Their live shows too, are fantastic.

Check out: Jazz Cigarette

The Gramotones

Another end of the spectrum now, The Gramotones' sound is a rich and melodic pop affair flecked with moments of solid indie and occasional camp theatrics. Having recently earned themselves a support slot on Paul Weller's forthcoming European tour, it's obvious that the band are going in the right direction; their lavish vocal melodies are steeped the '60s, affording the band a timelessness not often seen in such a relatively young act.

Check out: M62

Feed the Kid

Feed the Kid uphold an undeniable sense of the bucolic, their emotionally-driven folk building on a same foundations as bands such as Bear's Den. Those anticipating the Mumford and Sons branded arena folk will be disappointed, however, as there's a definite and appealing roughness at play too, which one can assume is an aesthetic decision given the polish over the anthemic 'Fellaheen'.

Check out: Kerry

No Hot Ashes

Reasonably new to the Manchester scene, No Hot Ashes fuse together funk with infectious indie that's hard not to sit up and take notice of. Championed by the illusive promoter/podcaster Mr Peeps it won't be long before No Hot Ashes follow in a similar direction to the likes of Puppet Rebellion; their music more danceable than Pup Reb's but both equally as solid in execution. Expect big things over the next few months.

Check out: Skeleton

The Backhanders

The Backhanders first caught my attention towards the end of last year, as much for their haircuts as for their melodic fusion of both punk and mod sounds. Seemingly causing a bit of a stir on the unsigned scene around Manchester at the moment, it's easy to see why. As the band flit from Stone Roses/Oasis-esque heady brit-pop to two-tone tinged punk, it's not hard to imagine a rowdy Manc crowd thoroughly enjoying themselves.

Check out: Don't Let Your Man Know

Lucky T. Jackson

Cheating a bit with this one, but the band, in this iteration at least, haven't been together all that long. With some members formerly of Manc band The Quangos, Lucky T. Jackson are fortunate enough to have people with a vested interest in them almost right off the bat. Having seen their debut gig at The Whisky Jar, I felt almost obligated to include them; their infectious blend of contemporary indie and sugary '60s harmonies proving too much of a draw not to mention. Potential for a full column piece in the coming months for sure.

Check out: This Particular Girl

Stolen Haven

Having seen Stolen Haven live a couple of times now, I know for a fact that they're one of the most promising live bands coming up in Manchester at the moment; their solid no nonsense indie earning them support slots with the likes of Puppet Rebellion. While their overall sound is nothing new, the confidence they have in themselves makes for some solid song-writing that just can't be ignored. Quiet on the release front of late, we can presume new things will emerge later this year.

Check out: Decent Shoes

The Lottery Winners

'Born in Salford, raised on romance' proclaims the Facebook page of The Lottery Winners, and from the first moments of hearing their bubblegum indie-pop, it's obvious how true that is. This is a band who don't so much wear their heart on their sleeve as wave it on a flag above their heads. You can almost imagine that this is what Morrisey might have sounded like had someone introduced him to Prozac.

Check out: I Only Want to Be With You

The Bluntskins

Not quite the usual fare here, The Bluntskins are one of Manchester's best hip-hop outfits who make their appreciation of cannabis culture known. Made up of two rappers, Bill Sykes and Cheech, and completed by producer DJ Pro P, the trio use a mixture of beats, bars and samples, resulting in a heady combination that just begs to blaze to. The lyrical content might not be to everyone's tastes, as might not the fractured but expertly mixed backing tracks, but for those who appreciate a little indulgence from time to time, or just like some good old fashioned hip-hop, then they could do far worse then checking out The Bluntskins.

Check out: High As A Helicopter

Kult Country

Part of Sways Records, (whose roster once boasted MONEY), Kult Country are a band without boundaries. Their music, though hard to pin down, draws from the likes of My Bloody Valentine, but isn't completely indebted to them, fusing together shoegaze and noise with elements of sparse post-punk and futuristic techno. It's an odd combination, but it's an exciting one, and we can hope to see far more of them this year, as they aim to follow in the footsteps of their previous label mates.

Check out: Slowburn

This article was originally written for this month's edition of U&I Magazine - you can read the rest of the magazine by clicking here.

#275: Catching Up With...The Nankeens (U&I Music Magazine - April Issue)

Raised in Salford but with a swagger to rival any band on the other side of the River Irwell, The Nankeens are one of the more diverse bands gracing the stages across Greater Manchester. Similar to Puppet Rebellion in that they aren't afraid to crank their amps up or dial down and showing their softer side, The Nankeens have been gathering both fans and momentum over the course of the last eighteen months or so, with their most recent shows “leaving the crowd screaming for more”. Furthermore, local label Scruff of the Neck have also caught wind of the buzz surrounding the band, suggesting that 2014 might very well be the year everything comes up Nankeen.

With label interest behind, the band show no signs of slowing down. Having just come out of the studio after recording their second EP, The Nankeens look set to build on an already solid catalogue of tracks. The most recent of which, 'Scenester' featuring an Arctic Monkey's-inspired drawl draped lazily across a chunky bassline and frenetic guitars. A far cry from softer, more candid tracks such as 'I'm Not Playing', a track from their first EP, Autonomy, a fitting name for a record which set them apart from many of their contemporaries, and featured the stripped down and simply titled 'Ukelele Song'. Whilst it could easily have given itself over in to somewhat of a parody, it maintains a complete degree of sincerity and as such is a stand out track in the band's catalogue, despite it's potential flippancy. Another track worth mentioning is 'Reaper' a track which brings to mind Aha Shake Heartbreak-era Kings of Leon before veering into some almost-shoegaze style guitars.

While the overall sound of The Nankeens isn't ground-breaking, both the energy and conviction, and at times the emotional candour, that the band possess makes them stand head and shoulders above some of the very bands they share stages with. It's music for the every-man, there are no added pretensions, no unwarranted ego. Sure their SoundCloud page might well purport that they already deserve the attention they get, but to put it bluntly, they're right. And whilst Manchester already has it's fair share of indie bands, very few stand out the way The Nankeens do, and though they might already have predicted it themselves, they certainly have a bright future ahead them.

U&I: Hi guys, thanks for taking the time out to have a chat with us. U&I: First of all, what's the story behind your name? A quick Google search tells me nankeens are in fact a type of trousers, care to elaborate?

Adam Darby: Well nankeen is a type of Cotton, we did a little research on the mill the we have our rehearsal room in and that is one of the things it used to make back in the day.

U&I: Being from Salford, do you find that people expect your sound to be more in fitting with a certain other band, and are they surprised when they find out how different you are from said band?

AD: I wouldn't say people expect it but I do think they're surprised when they hear us. We don't tow the typical Salford/Manchester line when it comes to our music but I think there is just enough in there.

U&I: You've been in the studio recently recording a new EP, what can we expect from those sessions?

AD: Yeah we've just finished recording a six track EP in The Motor Museum studio. It went really well and is by far our best work to date. It's got two tracks that we don't play live so it's something new for the regulars that come to our gigs, too.

U&I: I've seen talk online surrounding you and local label Scruff of the Neck, include the hashtag #newproject. What's happening there then?

AD: Well at present we haven't got any plans in place with Scruff of the Neck. We've finished recording the EP and once it's been mastered we're going to be looking to see if we can get someone to release it for us. So if there's anyone out there interested reading this, give us a shout!

U&I: A recent gig for SOTN at Manchester's Night & Day Cafe “left the crowd screaming for more”. How was the gig question? What do you think about the recent noise complaint the venue was faced with?

AD: Yeah we had a really good night, we were out all day with a gang of mates and just carried it on straight to the gig. The crowd were ace and it was good to feed off their energy. The gig was being filmed/documented too, so hopefully that will come across on the video.

As for the noise complaint, I think everyone in Manchester thinks the same - why move into somewhere above a music venue and then complain about the noise? It's ridiculous and hopefully will get laughed out of court, if it gets that far.

U&I: Local band The Ninth Watch were also on the bill that night, and have previously been featured in this very column, but what other local bands are on the up at the moment? Anyone you feel our listeners should be hearing and that you want to big up?

AD: Well I think everyone should check out our mates Skinny Roller who are just starting to make a name for themselves. We have got a headline show at Gorilla in Manchester on the 17th May and we have got them in supporting us along with The High Nines. We also recently got The Fallows on with us at our first gig of the year who were really good, were hoping to do some more gig's with them this year so keep your eyes out for that. Also we have done a few gig's with Jordan Allen recently who is definitely on the up at the moment, you will be hearing more and more of him soon.

U&I: Obviously you've played your fair share of gigs over the last couple of years, but what's your favourite venue to play at? Is it different than your preferred venue to watch a gig at?

AD: Well we don't have a particular favourite, as they have have there own individual feel. A few of our faves recently have been The Castle Hotel and The Eagle Inn for smaller venues, and The Deaf Institute and Night and Day have the best vibe for the middle size venues.

U&I: Your gigs have been fantastically well received of late (and even before that). What have you got lined up over the next couple of months in terms of live stuff? Any festivals planned?

AD: We are hoping to get on to some of the smaller festivals and we're playing a few events at media city again this year once summer arrives. Like I mentioned before, we have our biggest headline show to date on the 17th at Gorilla which will be one you don't want to miss.

U&I: (Whilst you're from Salford and I'm bending the rules a little bit this month, I still think this question is pertinent) Manchester is obviously a city full of up-coming talent across a multitude of genres, but what do you think it is about the city that makes it such a fertile place for a young band to find their roots in?

AD: I think it's just down to the sheer amount of live music venues, there is such a massive unsigned scene in Manchester I mean you could gig 7 nights a week if you really wanted to and the talent is better than most of the signed bands out there. Also the endless list of massive bands that have come out of Manchester and Salford play a big part in inspiring and influencing people to have a go them self, that's how i got started anyway

U&I: Finally any news or exclusives we haven't covered that you'd like to leave our readers with?

AD: Well our newly recorded EP is going to be called Blisters, and we're hoping to have a limited release on vinyl so keep your ears and eyes open.

U&I: Thanks guys, it's been a pleasure.

Photos: Trust A Fox Photography

This interview was originally conducted for U&I Music Magazine. Click here to check out this April's issue in full.

#273: Darlia - Soundcontrol, Manchester - (28/03/14)

Darla (w/ The Minx)

Sound Control, Manchester

March 28 2014

Photos: David Brown (The Minx), Steph Murphy (Darlia)

One of many venues situated just a stone's throw away from Oxford Road train station, Sound Control, though unassuming on the outside, plays host to an multiplicity of eclectic club nights and gigs on a weekly basis, the former often following the latter. Such is the case tonight, and as we descend the stairs in to the basement, pushing through a set of plastic strips (such as you would find in a warehouse) and being hit with a musky damp smell, you can understand why the venue hosts as many D'n'B and house nights as it does; the concrete floor and dim lighting bringing to mind my singular experience of an illegal rave.

This review was originally written for Little Indie Blogs. Click here to read in full.

#266: Brown Brogues - Zoloto (EP review)

Since moving from Wigan to Manchester, scuzzy two-piece Brown Brogues have developed somewhat of a cult following over the last four or five years with their fusion of guttural garage rock, bluesy vibes and punk ethos. Think the MC5, jamming with The Stooges by way of The Black Keys, all wrapped up in the spit’n'sawdust surrounds of one of Manchester’s many dive bars, and you won’t be far off the mark. With Record Store Day 2014 just around the corner, it seems justifiable that such a cult band should want to celebrate the occasion by releasing Zoloto, their first EP since 2012′s Born to Lose.

This review was originally written for Far Out Magazine. Click here to read in full.

#265: Maximo Park - o2 Academy, Manchester - (15/3/14)

Album review: Maximo Park - o2 Academy, Manchester - (15/3/14)

This review was originally written for Muso's Guide. Click above to read in full.

#263: Patterns - St Philip's Church, Salford - (07/03/14)

Gig Review: Patterns - St Philip's Church, Salford - (07/03/14)

This review was originally written for Muso's Guide. Click above to read in full.

#262: Catching Up With...The Minx (U&I Music Magazine - March Issue)

Though they've been around for a couple of years now, The Minx, a two-tone/punk hybrid from Wythenshawe, are finally seeing the fruits of their labour reaped. Their last few home-town shows have been sold-out energetic affairs, increasing in size every step along the way and it's easy to see why. Their music doesn't lend itself to the rainy city in the way that it other bands do. Indeed, the inclusion of an organ injects their repertoire with a definite dose of sunshine more akin to the West Indies than Wythenshawe. As a band, they're so atypical of both their surroundings and their era, that it's hard to put a finger on what makes The Minx so special; and therein lies their appeal.

Tracks such as 'Forest Bank' exhibit this brilliantly. Drawing from a wealth of influences such as ...And Out Come the Wolves-era Rancid and The Clash, it's immediately obvious that the band refuse to bay to the generic expectations laid out by Manchester as a city. And while it can certainly be argued that 'Manc Music' doesn't have the same clichéd restrictions it did twenty years ago, it's still a music scene dominated predominantly by an indie majority. The Minx, however, have other plans.

Their most recent release 'Corporation Pop' was recorded in one live session, and though the production quality wavers slightly in the face of it, the punk authenticity of the session reigns supreme, giving fans another reason to fly The Minx flag high. A tumultuous, anarchic track, the sheer energy that bursts forth is untapped and unadulterated, much like the track itself. An explosive chorus of gang-chant style vocals isn't quite the icing on the cake as much as it's the safety-pin through the nose, and if any of the four remaining tracks taken from this studio session muster even half the energy this does, we're in for something truly special.

Though it's taken a while for the ball to get rolling, now it has it shows no sign of slowly down, the momentum behind it building with every gig, every release. A host of fairly high-profile support slots across Manchester also, has done nothing to hamper the inevitable ascent to the top of the game. Loud and brash, anarchic though not without melody, The Minx are one of Manchester's most exciting young acts at the moment. You can almost bet that 2014 is going to see them follow in the footsteps of the city's most recent exports. Expect big things. Expect them soon.

U&I: Hi guys, thanks for taking the time out to answer our questions. To start with, your sound isn't inherently 'Manchester', at least in comparison to the generic indie of some acts out there at the moment, but how would you describe yourselves personally as a band?

To be honest, I don’t think we fit in with the whole “Manchester” tag, and what comes with it. The Minx aren’t “trendy”, but I think that’s why it works. Don’t get me wrong, we love Manchester music, and the likes of The Stone Roses, The Smiths, Inspiral Carpets etc are big influences on us but I don’t think it necessarily shows in the music we make. Now the Buzzcocks on the other hand..

U&I: You've been a band for a while now, but it seems over the last 12 months that things have really started moving in your direction, with some decent support slots for the likes of Inspiral Carpets and a string of sold out headline shows in Manchester already under your belt. Was there a pivotal point in which you started noticing stuff happening?

I think last year (2013) was the real start for us. That’s when we started (properly) releasing our tunes and getting real radio play. We had a solid plan from January 2013 to get the “Hey! Mr Warden” EP out, followed by the (Can You Find) My Head? Single, with gigs around both, and we just stuck to it and it worked..

U&I: There's obviously a lot of two-tone and reggae influences mixing with the punk vibes in your music, do you think this is a cultural thing that stems from growing up in a city like Manchester, or is that just the kind of music you grew up listening to?

Both! We’re all really in to reggae, and have been since growing up. We’re lucky to be based in multicultural Manchester, I’m positive that’s had a spin on how our music has formed.

U&I: Similarly, what do you think it is about the city that allows such a multitude of bands to flourish the way they do in Manchester? And do you think the sheer amount of music on offer creates a competition between bands?

Manchester’s always buzzing, with some great live venues so there’s always good shows on. I wouldn’t say there’s competition, in all honesty I wouldn’t mind hearing/seeing more.

U&I: Your latest single '(Can You Find) My Head' came out last year and it summaries The Minx as a band brilliantly. How well has it been going down with fans and critics?

(Can You Find) My Head? has gone down a storm. With the track being picked to soundtrack Dr Martens global AW13 campaign, it put us on a whole new level and opened our fan base globally. Everyone seems to really dig it, which is cool.

U&I: You announced on Facebook the other week that you had been in the studio laying down some new tracks. When can we hear them and are they another EP or part of something longer?

We popped to a little studio in Rochdale, set up live and laid down 5 new tunes in a day. We filmed it all and will be uploading each track as a series over the coming months. The first track has just gone live “Corporation Pop” (see above)

U&I: You had a crazy year in 2013, and must've had some brilliant experiences. What's been some of the most memorable? Any tour stories you want to entertain our readers with?

The best experiences of 2013 were definitely our 3 consecutive sold out Manchester shows at Soup Kitchen, Deaf Institute and Sound Control. Each one was just brilliant and bigger than the last. As for tour stories.. We’d rather forget.

U&I: Manchester's full of eclectic venues, they're as much a part of the city's musical heritage as the bands which play them, arguably more so in the cases of some. With that in mind what do you think about the current noise complaints befalling some venues in the Northern Quarter?

I think it’s all a load of bollocks. If you move next door to a music venue, then it’s expected you are going to hear noise. If you don’t want to hear noise, move to rural Wales or something.

U&I: You're gigging with Darlia at SoundControl late next month, and you must've gigged with a fair few bands in a similar position to yourselves over the years. Anyone you'd like to plug or give it of exposure to?

There’s some great bands knocking about. The great thing about putting on our own headline Manchester shows is we get to hand pick the support acts. So far we’ve had Guy Connor, Bourbon Street Beat, The Velveteen Saints, No Hot Ashes, Dirty North and soon to be James Munro at our next sold out Eagle show on the 28^th March. They’re all great.

U&I: With 2013 proving to be the year for you that it was, 2014 is going to have be pretty special to top it. What are the band's plans for the year ahead? Headline tours? Prospective albums? Festivals?

Onwards and upwards. Our debut single “No Friends” is set to be re released around April time. We’ll be looking to do our next big headline Manchester show around the same time (venue TBC). Small tour, and as many festivals that will have us?

U&I: Finally, any parting words or exclusives you'd like to leave our readers with?

Snapback crackpipe snakebelt.

U&I: Cheers guys.

All live image credits go to Trust A Fox

This interview was originally conducted for U&I Music Magazine. Click here to check out their new website and read this months issue in full.

#260: Delamere - The Deaf Institute, Manchester (08/03/14)

One of the best feelings one can have in this profession, is seeing a band they've championed for a while finally get the break they're so deserving of. One such band for me personally, is Stoke's Delamere, a four-piece whose steady stream of heartfelt self-releases earned them the attention of Manchester-based label Scruff of the Neck late last year. Tonight sees the release of their first single with label backing and also gives me my first chance to see them as a headlining act. First however, there's the matter of the two support bands to attend to, local acts The Hymek Manoeuvre and Glass Tides, both of whom have a sound as varied as the audience in attendance tonight.

First on the bill are Chorlton-based The Hymek Manoeuvre a six piece funk fusion outfit who warm an eager crowd up brilliantly. Opening with a number that smacks of '60s pop outfits, their set soon gets heavier with tracks such as 'Crocodile' adding some bite to their repertoire with penultimate track 'Hatred' proving to be another highlight.

Second up are Glass Tides, and though they've only been together a short space of time, they ply their trade with a quiet confidence, preferring to let their exploration of both dynamics and tempo do the talking for them. The inclusion of a violin also adds some diversity to an otherwise traditional set-up and i wouldn't surprise if before long they find themselves, like tonight's headliners, releasing their first official single to a packed out audience.

Having watched the first two support bands squashed rather unceremoniously leaning out over the venues small balcony, we opt for a more comfortable position stage left, as the burgeoning throng of the crowd pushes towards the front, anticipating the arrival of Delamere on stage. Opening with 'Head Strong' the band waste no time in kicking off their set in a big way – their trademark anthemics ringing out across the Deaf Institute’s modest gig room.

Tracks such as 'Vampire' incorporate lite-shoegaze moments, mounting walls of noise encompassing those of us stood close to the stage, whilst 'Heart' is a mid-set highlight that sees singer James Fitchford utilising both skin and rim of a floor tom to provide added timbre to an already richly woven track, before warning the crowd “you don't want to do that after a beer, I was nearly sick”.

New single 'Do You Want Me?' follows next, the mid-song breakdown that I gushed about here, really coming in to it's own in a live environment. This track is the reason for us being here tonight, and it's great to see the crowd singing back the words, despite it only debuting a couple of weeks prior. The first real crowd movement of the night, comes during fan-favourite 'Colour Me In'. One of the band's oldest tracks, it allows the audience to really let loose; the mixed crowd dancing terribly, though all in great spirits, knowing the track almost word for word, and with the dancing carrying on well in to the final track of the evening 'Betty Boop'.

Having only caught Delamere once before, at a support slot just down the road in Academy 3, tonight has exceeded any expectations. Though their last show was plagued with sound problems, tonight is as crisp and as clean as you could hope for. Every note of every solo is discernible, every high-hat or bass beat noticeable and the vocal reach of Fitchford, unparalleled. There's a reason why Delamere have been signed, and tonight shows why; their live performances far excells their recorded output, and that's not an easy feat. If this is the sound of a band whose wheels have only just set in motion, I can't wait to see what they'll be like in 12 months time. The only real complaint of the evening comes in the choice of set structure; an early inclusion of 'Colour Me In' would probably have got the crowd moving far sooner than it did. However, that shouldn't take anything away from a band who are well and truly on their way to bigger sounds, bigger stages, and in the case of lead guitarist Ash Egerton, one can only assume, bigger beards.

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#258: Introducing...Ghost Outfit

There’s something inherently pleasing about seeing bands from your city begin to make a name for themselves. Being from Manchester, you might think that for me, this happens quite regularly. But when those bands are fairly middle of the road indie outfits (I’m looking at you, The 1975) more often than not, it begins to get a little predictable. Thankfully though, over the course of the last 12 months, things have started to change, and more atypical acts have began to not only break the surface of the city’s scene, but smash through it.

This article was originally written for Hooting and Howling. Click here to read in full.

#253: Puppet Rebellion - Guillver's, Manchester - 22/02/2014

Live Review

Puppet Rebellion

Gulliver's, Manchester

February 22 2014

Photos: Trust A Fox Photography

No matter what your musical persuasion, Manchester's music scene has always been an inexorable tour de force rivalled perhaps only by our country's capital. From pop to punk, hip-hop to indie, the bands which hail from the rainy city, signed or otherwise, offer Manc music fans a multiplicity of gigs and events on any given night across the city. Tonight for example sees acts like Prince, homegrown heroes Sonic Boom Six and Rudimental all vying for your attention at one venue or another. Opting for a smaller, though no less rowdy affair, we head down to Gullivers, a ramshackle spit'n'sawdust establishment in the city's Northern Quarter.

This review was originally written for Little Indie Blogs. Click here to read in full.

#251: Delamere - Do You Want Me? (single review)

Delamere

Do You Want Me?

March 8th 2014 (Scruff of the Neck)

9/10

There was absolutely no way that the emotionally fraught, transatlantic indie of Stoke's Delamere was going to remain unsigned for very long. Having recently been snapped up by Manchester's Scruff of the Neck Records, it seems that the band have finally got the break they're been deserving. A steady stream of self-releases online whet the appetite of those of us already in the know, allowing the band to garner a loyal following in little over 12 months whilst gracing the stages of some of the North West's most popular venues. Now with a label behind them, Delamere look set to truly make a name for themselves.

The band's latest single 'Do You Want Me?' is their first with label backing and the difference between this and their self-releases is noticeable immediately. Not only is the production tangibly better (not to detract from their previous efforts, in which it improved with every track) but there's a more realised confidence in the their songwriting along with an evident maturity from past demos. Beginning with an intro somewhat akin to Death Cab For Cutie, 'Do You Want Me?' soon finds itself progressing in to a frenetic and atmospheric track that's lavishly draped with the fraught and tangible emotion synonymous with the band, whilst a change in tempo two thirds through gives way to a wonderfully melodic breakdown that smacks of American indie. It's a fantastic way to mark their first official release, and one that inspires nothing but confidence in their future output.

In the current climate of mediocre indie 'lad' bands, Delamere are bringing something far more intuitive to the fore. Dismissing the sex, drugs and rock 'n' roll mantra purported by so many of today's NME hopefuls, the band are a bubble of fresh air in a sea of stagnation. Their intelligent and thought-out lyrics offer something far deeper than the torrent of traditional indie on offer in both Manchester and Birmingham, either side of their home-town, as such, this cements Delamere as something truly special. If 'Do You Want Me?' wasn't asked in rhetoric, the resounding answer woSuld be “yes, the music industry needs you”. Bold, ambitious and utterly heartfelt, it's this kind of honesty and candour that sets the band apart from their contemporaries in a huge way.

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Scruff of the Neck Records

#248: Puppet Rebellion - No Means Yes (EP review)

Puppet Rebellion

No Means Yes

February 25 2014 (self-release)

9/10

They've been a band for barely a year, yet Manchester's Puppet Rebellion are already making waves both in their city and further afield, thanks in no small part to the depth of their musical prowes and intelligent lyricism. Last year's 'Chemical Friends' EP caused something of a buzz amongst bloggers and fans alike, with the eponymous track even featuring during half time at Old Trafford. With such lofty praise being heaped on the band almost from the word go, it was a worry that any further releases might well not live up to the expectations set out by their first. Fortunately, such worries are quickly done away with, as the band's second EP, 'No Means Yes', not only builds on the foundations laid last year, but exceeds the expectations set at the same time.

This review was originally written for Little Indie Blogs.Click here to read in full.

#246: Less Than Jake/Reel Big Fish, Academy 1, Manchester - 3/02/14

Gig review: Less Than Jake/Reel Big Fish, Academy 1, Manchester - 3/02/14

This review was originally written for Muso's Guide. Click the link above to read in full.

#244: Catching Up With...Patterns (U&I Music Magazine - February Issue)

The first thing one immediately notices about Patterns, is how inherently, un-Manchester their sound actually is. Paradoxically however, that in itself seems to be becoming something very much Manchester over the last twelve months, with fellow Mancunians PINS and Letters to Fiesta relishing in their own respective autonomy. And with such contemporaries releasing their albums last year, Patterns could have quite easily rushed to join the foray. Instead the band held off a while, refining their tracks and eventually releasing debut album Waking Lines early last month, in a move that has obviously benefited both record and band alike.

Filled with rich, icy textures, vocal ambiguity and soaring dream-pop soundscapes. The music the band are making isn't easy to pin down; drawing influence from the likes of My Bloody Valentine and Jesus and Mary Chain, right down to more contemporary acts such as Titanics, their effortless blending of shoe-gaze, chill-wave and dream-pop (and any other hyphenated label one would care to give them) is a brilliant example of the kind of musical diversity that Manchester has to offer. Not only that, but it also provides more than enough moments of accessible indie-pop, affording the band a level of commercial appeal that will undoubtedly work in their favour when it comes to radio play.

However, whilst tracks like the previously released 'Blood' definitely lend towards a commercialness about the band, their live performances are anything but. Complete with tape-recorded, psychedelic film loops, it seems listening to the album alone is only half the experience that Waking Lines offers, the band eager to provide a full sensory overload to accompany the dream-like aesthetics of their music. Also, whilst Waking Lines has not only brought Patterns back in to the fore again, it's also allowed them a certain level of financial freedom, most recently securing funding from the Art Council in order to organise an orchestral show in a Church in Salford.

Whilst their certainly a band full of all the ambition, energy and drive of youth, they also come across as somewhat more reserved than their contemporaries; there's an intelligence behind their song-writing which, when coupled with their visceral live performances, belies their relatively young age and cements Patterns not only as one of the most exciting Manc luminaries of recent years, but also as one of the most promising young bands around at the moment, period.

U&I: Hi guys, thanks for taking the time out to have a chat with us. First of all, you've recently released your debut album Waking Lines on the 6th of January and we already know that many bloggers and journalists, myself included, have been singing it's praises, but how has been received by the wider public?

P: We've been really excited to see the response from people across the world. When you've spent so much time in isolation creating an album its a strange feeling to have people listening to it and interacting with it. We get a lot of stuff coming through Facebook and twitter but it only became real when we played our launch show in London and had so many people telling us how much the album meant to them.

U&I: What was the best part of the recording process, any particular favourite tracks that came together really easily, or conversely, were there any songs which caused disagreements or problems in the studio?

P: The album was recorded in a slightly unconventional way in that we did the drums in a proper studio but then everything else was home recorded; so part of the joy of the whole process was being able to take a lot of time on all the elements. The title track "Waking Lines" is a good example of that because we took a very long time to put together all the elements but it eventually produced one of the more interesting pieces on the record.

U&I: Being from Manchester there's obviously a certain stereotype people feel you need to live up to; something you completely try to distance yourself from on your website. What do you think it is about the city that make people envision artists in a certain way, or even make bands act in a certain way?

P: Well I think there are quite strong cultural associations around the Manchester music scene that colour peoples expectations of you as an artists. This often means journalists try to place you within the broader narrative of the musical history here. Certainly when we started playing there were a lot of bands who felt the need to embody the lad rock or "Madchester" aesthetic but I definitely don't think that's the case any more.

U&I: On the other hand, whilst people seem to try and leave up to some kind of stereotype, Manchester's also home to a multiplicity of bands from varying genres and backgrounds. What do you think it is about the city that makes it so diverse?

P: Yeah I think the reality of the scene is much more diverse and interesting now. There are so many distinct groups within the city making really interesting and different music. I think in that sense there is a positive side to the musical heritage because people associate the city with music and want to come here to form bands, put on club-nights, and open venues; its a musical city.

U&I: In a previous interview, Ciaran revealed he felt there was a “sense...within the music industry you are only ever taken seriously when you have an album...”. Since the release of Waking Lines, do you feel you've started to be taken a bit more seriously as a band, or is it still early days yet?

P: We've certainly felt things shift. When you only have a few singles out its very difficult for people to have a sense of who you are as a band or if you're even good enough to make an entire album of music. So now that our album is out we're really happy that people are responding so well to what we've created.

U&I: Manchester is a city full of different venues, from a completely vacuous arena to 50 people dive bars. What are some of your favourites either to gig yourselves or see a gig at?

P: The Deaf Institute has always been one of our favourite every day venues to both see bands as well as play ourselves. The best gig we've played in Manchester has got to be in the John Rylands library which is this amazing old Gothic building in the centre of town. We're one of only a handful of bands to have ever been allowed to play there and it was an incredible experience

U&I: Similarly, you must have heard about the sceptical future of the Night & Day venue due to a single noise complaint. What are your views on that, and do you think it will signify the start of a trend within the city, in which established venues are subject to stricter noise laws, despite their cultural significance?

P: I think there are serious questions here about how we conceive of the purpose of our city centers. You see this kind of problem happen in London a lot when an area becomes trendy because of genuinely interesting cultural development but then its over run by yuppies who just want to be buy flats there while not actually being part of the community. The quintessential Manchester example of this is the Hacienda which was far more lucrative as apartments than it was as a venue. We can't have the cultural value of our city centres eroded by the demands of property owners and the local councils who support them. The response to this issue has been great though so I don't think the city will take this lying down.

U&I: You've just announced a one-off gig in St Philips Church, Salford, complete with 30 piece orchestra. How did that come about and what can we expect from the gig?

P: A gig with a choir was something we've always wanted to do as choral music has always been an influence on us, but the costs and complexity of it meant we had to wait. It was only after getting funding from the Arts Council that we knew the whole thing would be possible. We're in the middle of quite a big rehearsal schedule at the moment with the choir, so its all really exciting that its happening. We've also got two great supports with Beaty Heart and U.V. so we can't wait to play.

U&I: You've seemingly made somewhat of a name for yourselves with your live shows, most notably for their visual accompaniments, how did these come about, and can we expect them to become more ambitious in the future?

P: Creating a complete live experience has always been really important to us. We do a lot of experimentation with video footage and when the venue is right we can go crazy with the kind of projections we do. As we tour this record we have some big plans for how we're going to evolve the live experience.

U&I: There's currently a whole host of bands from Manchester making a name for themselves, MONEY, PINS, yourselves. Most of which have a pretty different sound from your typical Manc lad band, why do you think this is?

P: Manc lad bands don't really exist anymore which is a great thing. One of our biggest problems with guitar music is its consistent association with a certain idea of masculine identity. Not only does this exclude women from legitimately being allowed to make "guitar music" but it artistically limits you to certain types of "austere "strong" and "ladish" male expression. Our music, as well as that of Money and Pins, doesn't feel reductive in that sense.

U&I: Finally, is there anything you'd like to announce to our readers? Tour news? Your next single? Or any parting words of wisdom you'd like to leave us with?

P: We'll be doing a tour across the UK from March 14th which we're really looking forward to. Also our next single from the album is "Street fires" which will be out soon.

U&I: Thanks guys, it's been a pleasure.

This interview was originally conducted for U&I Music Magazine's February issue. Click here to check it out.